Community Foundation

As Tia Oros Peters so eloquently states in her essay that follows, there is no particular word for art in the thousands of Indigenous languages of the world. While there are hundreds of Native American languages, the same holds true; Native Americans do not and cannot separate the importance of art and culture from everyday life. It is one goal of GIA's Indigenous People's Network to bring this important way of life to the fore of grantmakers' thinking.

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This talk was first presented to the board of trustees of the Clarence E. Heller Charitable Foundation.

2004, 152 pages, Center for Arts Policy at Columbia College Chicago

2004. Centre for Creative Communities, 118 Commercial St., London E16NF, UK.

2004, 42 pages. Marwen, 833 North Orleans St., Chicago, IL, 60610, 312-944-2418, www.marwen.org

Anyone who works (or lives) in the circle of adolescents can appreciate the complexity of developing effective arts programs for teens. Fuel documents the essential characteristics of one such program at Marwen, a Chicago cultural organization that provides high-quality visual arts instruction, college planning, and career development to young people (grades six to twelve) free of charge during out of school time.

2004, 45 pages. Published by Cultural Policy Center at the University of Chicago, 1155 E. 60th Street, Chicago, Il 60637, 773-834-5995

Download pdf: http://culturalpolicy.uchicago.edu/pdfs/grams_producing.pdf

2004, 58 pages. Alliance for Justice, www.allianceforjustice.org, 202-822-6070

Download Report: http://www.afj.org/for-nonprofits-foundations/resources-and-publications/pay-for-publications/investing-in-change-1.html

Recent decades have seen rapid immigration into traditional gateway cities as well as rural and suburban communities throughout the United States. Craig McGarvey's thoughtful Pursuing Democracy's Promise speaks to the importance of new United States residents' fully participating in civic life alongside the native born.

To California's great Central Valley they have come from the highlands of Oaxaca, the cities of eastern Pakistan, the relocation camps of Thailand—political refugees and new immigrants from around the world aspiring to build a future for their children, grands, and greats.

For three days in October these new U.S. Americans gathered in Fresno's Tower District for their second Tamejavi Festival. Everyone was welcome; the historic Tower Theatre's marquis proclaimed, “Tamejavi: It's Still Free.”

Early in 2004, the Graduate Center of the City of New York convened ten small to mid-sized arts organizations to talk about what had happened to them in an experimental, internet-based project funded by the Ford Foundation. The ten, from across the country, are community-based cultural organizations; they share a commitment to emerging and experimental artists and art forms, and a commitment—equally firm—to their local or nearby communities. Despite their similarities of mission, the ten were not familiar with each other's work.